EX NIHILO – ØBSRVR (2025) – Album Review
Album: EX NIHILO
Artist: ØBSRVR
Release Date: October 25, 2025
Øbsrvr – Sean Millican
Strangely, Sean, aka Øbsrvr, and I have run in the same circles for over 15 years, yet we’ve never been in the same city at the same time. I’ve followed his musical output since his split EP with Split Horizon (I know, a corny joke) as Dimentia, which was released around 2012. We’re now in the same territory, so it’s great to connect with him again through the shows he produces under the Tarantella label, an artist network he runs. Under the Øbsrvr alias, we’re exposed to his Electro leanings, which take the simplistic 808 drums and bass-popping sounds towards industrial-strength nihilism.
Oh, you know I wanted to segway into that album title in a silly fashion. EX NIHILO has roots in biblical meaning, a god creating existence from nothing. I don’t know if he fancies himself as an omnipotent being with infinite cosmic powers, plans within plans within plans that mortal souls cannot comprehend. PROBABLY NOT.
So, removing the god complex from the title and theme of the album, EX NIHILO seems more keen on the concept of “out of nothing” as in letting inspiration occur spontaneously, without planning or expectations. Since we lack the “Creation” part to indicate that this was created from nothing, perhaps this is more of a projection of how the artist feels their work fits in the universe. We are from nothing, we are part of nothing, we are going to be nothing.
Ha! I like pondering that bit, which is always fascinating to wonder if we’re from nothing, does that make us nothing? Well, I’ll be a bit contradictory here and say that this album IS something. Let us dive into a track-by-track breakdown to expose “things” that make this album special.
Track listing:
- Bloodlab
- Driftwood
- Dripping
- Ex Nihilo
- Murmuration
- Neuronic Struktures
- Lithium Angel
Initial feeling: Electro (Egyptian Lover, Mantronix, DMX Crew), Industrial (via 80s Skinny Puppy, Cabaret Voltaire, Soft Cell)
Overall sound of this album is serious-sounding Electro. It does not have the playful tones or coy bounce you would get from an Egyptian Love or DMX Crew track. I would say it leans into Mantronix’s Who Is It and then cranks up the ominous synths to create a more claustrophobic feeling as the album progresses. That’s not to say it’s not fun to dance to. On the contrary, we have a sinister series of sounds that are balanced by excellent timing of reintroducing rhythms that are natural for dance floor manoeuvres in the dark.
Bloodlab: Jumping right into a dead kick and snare marching combo, we get a song that emits disdain and favours dissonance with its raw bass and high-strung synth strings. This is one of the more Industrial favoured tracks that phases distorted claps and hits with a monochrome bass line that drags along the steady beat. I appreciate this stripped-down approach, as the various percussive elements do not get all jumbled up and are allowed to shine independently.
Driftwood: A bit more funky and active, as we have a classic Electro rhythm riding on top of a tight modulating bass pattern that is flowing in and out of tune, creating that dissonance I felt in Bloodlab. It seems like it wants to fight the melodic elements, but with a nice turn, it actually begins to harmonise with the more subtle background pads. It does end on a nice, softer note, hinting at those more melodic and ethereal themes I heard earlier.
Dripping: I must admit, I REALLY ENJOYED listening to Dripping because it really leans into that BIG 808 energy, the kind you get when putting on an Egyptian Lover track. You have a great hard snaps, big fucking kicks, shuffled with fun rimshots and a simple hat pattern, and it brings the claps in and out to create that jumbled up funk. The synth is very easy on the FX and modulation, as it doesn’t have to be the star of this track. Using the repetitive, pitched-down voice as a secondary bass keeps it interesting, almost frog-like quality. I’m calling it the Freaky Frog, haha!
EX NIHILO: This is closer to the old 80s Industrial style you’d find in old Smokey goth clubs, kids doing their bad (cool) dance moves. The rough, detuned saw waves mimic classic, angsty synth lines, paired with a simple kick and noise snare, snarling up to some classic horror synth pads. Now, it might lean on nostalgia, but not in a derivative sense. The track would fit in with a modern set, such as with the Horrorist, or be comfortable in a darker 80s retro night.
Murmuration: Another classic 808 beat with a nervous congo synth drum that doesn’t really relent until we get into some great spooky synth pads. Throw in some perky arps and some creepy vocals, and you have yourself some Gothy Electro! The vocal samples are hard for me to make out, but perhaps that’s the intent, as you can’t really HEAR murmurs.
Neutronic Struktrures: Probably the busiest out of all these songs, you have a frantic pitch up arpeggiation going double time to a jittery beat. Not quite as fast as Chicago Footwork, but it seems like it could be a sensible jump in that direction. Forlorn synth strings help balance that frantic energy, giving the midsection time to really get freaky. I can see someone having a fun dancefloor meltdown trying to keep up.
Lithium Angel: Finishing as we started, that nearly naked sound of a slow-moving bass with a robotic kick and clap/snare on the 2 and 4. Things don’t stay this way, and we had more fun elements with the high hats, distant minor tones and analog laboratory concoctions that fill out the more sci-fi edge of this piece. It’s a climax of all the past elements, tied in a nice cooling rod.
ENERGY is the theme of the album! It dawned on me as I was listening and analysing each track. When each rhythm builds up and breaks down, it lets different parts have their time to shine. It also allows dancers to keep different paces, when to conserve, and when to let loose. It builds tension, then flattens out, throwing in funky elements against static sounds. It’s a spooky breakdancer’s delight!
Artwork by Panoptix
I’m not familiar with their work, and I couldn’t find any additional information at the time of writing this article. I love the over-exposed eye-like image, which appears to have some detritus or spiders touching it.
EX NIHILO is available on Tarantella.
Mastering by Joel Shanahan.
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